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2013 Grammy Awards: See The List of Winners Here!

David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
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S6E9: I think I’m going to begin starting my 30 Rock recaps as such: “This week, 30 Rock does a __________ parody!” You can fill that blank in with crime procedural for this latest episode. There’s nothing inherently wrong with this formula—especially since the show also manages to devote time to other non-parody stories—but the Law &amp; Order satire in “Alexis Goodlooking and the Case of the Missing Whisky” falls a bit flat, especially in comparison to the exceptionally spot-on parody that last week’s “Leap Day” managed.
"I broke the number one rule of being on the force." - Jenna
"Don't fall in love with your car?" - Tracy Jenna reminisces about her short-lived crime drama Good Looking, and decides to live out her character Alexis Goodlooking’s life by solving an actual mystery: somebody drank Pete’s special birthday whisky, and he’s being really whiney about it. Jenna and Tracy team up to parody the standard procedural tropes—the investigations, the interrogations, the “my loved one’s death is a constant weight on me, but drives me to carry out justice everywhere”-tions. Jenna and Tracy deliver laughs handling the premise, but the whole story doesn’t seem very original at all. Crime procedurals are one of the easiest grounds for mockery, right up there with soap operas and reality shows (both of which 30 Rock has also done, but much better). In fact, the funniest part of this plotline is a dismal Pete, trying to rally everyone to listen to his oft repeated story of meeting Phil Donahue, and his guitar rendition of “Piano Man,” with amended, sadly self-aggrandizing lyrics. Pete is one of the few characters whose descent into cartoonishness actually makes me happier—although he served a good purpose as a stable but sad and spineless man at the series’ inception, he is much, much funnier now that he’s just a personification of failure. "In prison I was involved in a fake family with a bald woman, and our son was a basketball with a wig on it...but, okay, this is creepy." - Lynn There is something funny and interesting buried inside Liz’s story of the week, but it never quite comes out. This is actually how I’ve felt for years about the character with whom she spends most of her time on this episode: Frank. From the beginning of 30 Rock, I always wanted to like Frank a lot more than I actually liked him. I always waited for a Frank episode, knowing that if the character was actually developed, he could very well be my favorite. Unfortunately, it’s really too late to make anything truly interesting of Frank—the show is past the days of fleshing out its characters. But curiously, I still really enjoy when episodes devote a lot of attention to him. Last year, Susan Sarandon made a guest appearance on the aforementioned reality show parody episode, playing a former middle school teacher of Frank’s who seduced him when he was only fourteen. After years in jail, she came back to profess her love to him. And as we found out three weeks back, they’re still dating. Lynn (Sarandon) returns this week, but Frank has yet to tell his overbearing mother (Patti LuPone, another welcome returnee) that he is romantically involved with the pedophile adultophobe that took his virginity when he was in junior high. The show makes a whole lot of jokes about Lynn being perverted and immoral, but in the end, we’re still meant to root for the pair’s relationship. Which is fine, because no one on this show is really a person anyway. In order to cover his secret, Frank tells his mother that he is actually dating Liz, and thus ensues one of the oldest tricks in the sitcom book: Person A pretends to be dating Person B so that Person C will (and the rest varies depending on which episode of Three’s Company you’re watching). However, this story is practically over before it begins. We barely get a scene of Frank and Liz feigning couplehood for the benefit of Frank’s mother before Frank admits the truth. A constant problem for 30 Rock is that it never has enough time to do what it wants—so, we sacrifice this sitcom tradition (which the show already did back in the Season 1 episode “Black Tie” anyway, coupling Liz and Jack) in favor of a bunch of explosive scenes wherein Frank professes his love, cries into meatballs, and admits to an overwhelming Oedipus Complex. It’s wild times in the Rossitano household. "He's the best friend I've ever had, tied with everyone I've ever met!" - Kenneth The best aspect of the week comes along with Jack and Kenneth. Jack is training Kenneth to “make it to the top,” attempting to wean him onto the ways of moral ambiguity. Jack’s primary lesson to Kenneth is that business isn’t about friendship, it’s about getting ahead—and sometimes, you have to stab some people in the back to do so. Jack recounts his earliest memory of stabbing a would-be friend Henry Warren in the back, convincing Kenneth to do the same to his new work friend, Bradley Tarkin, Jr., a go-getter and Syracuse alumnus (perish the thought) who works Kenneth wrestles with the suggestions Jack gives him, favoring the kinder path, but Jack persists. Kenneth tracks down Henry Warren (Stanley Tucci) to find out whatever happened to him, in order to better inform his own decision on what to do. Henry is a reasonably happy man, living a quiet, normal life. But reconnecting with Jack throws him into emotional turmoil, realizing that his oldest friend was using him the whole time and never truly cared for him. The Jack of present day is a much gentler man than that of past—so he realizes that he’s sending Kenneth down the wrong road, and works to rectify this. However, Kenneth is already too far gone. He trusts no one, including Jack. And he reluctantly but eventually does indeed sell out his friend. Surprisingly, that is where the episode ends. Surely we’ll be seeing a continuation of Kenneth’s journey next week—but I’m hoping he doesn’t rise to prosperity because of a newly embraced dishonesty. I’d rather Jack’s Season 1 prediction be right: the Kenneth we’ve always known is destined to rule (or kill) everyone, not a new, manipulated version. What did you think of this week’s episode? Are you enjoying the parodies? Where will they go with this Kenneth story? Let us know in the comments section, or on Twitter @Hollywood.com and @MichaelArbeiter.

In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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After garnering widespread praise (and an Oscar nomination for screenwriting) for his 2000 directorial debut You Can Count on Me Kenneth Lonergan was in-demand. In September 2005 the writer/director began production on a follow-up feature: Margaret which touted Anna Paquin Matt Damon Mark Ruffalo Matthew Broderick Allison Janney as well as legendary filmmakers Sydney Pollack and Anthony Minghella (The English Patient) as producers. The movie wrapped production in a few months time. The buzz was already growing.
Now six years later the movie is finally hitting theaters. So…what took so long?
The journey to this point hasn't been an easy one and it shows. If a film's shot footage is a block of granite and the editing process is the careful carving that turns it into a statuesque work of art Margaret feels like it was attacked by a blind man with a jackhammer. The film is a cinematic disaster a mishmash of shallow characters overwrought politics and sporadic tones. The story follows Lisa Coen (Paquin) a New York teenager who finds herself drowning in chaos after distracting a bus driver (Ruffalo) causing him to hit and kill a pedestrian (Janney). Initially Lisa tells the police it was all an accident but as time passes regret takes hold and the girl embarks on a mission to take down the man she now regards as a culprit. That's just the tip of the iceberg–along the way Lisa deals with everyday teen stuff: falling for her geometry teacher (Damon) combating her anxiety-ridden actress mother losing her virginity dabbling in drugs debating 9/11 and the Iraq War cultivating a relationship with her father in LA and more. There are about eight seasons of television stuffed into Margaret but even a two and a half hour run time can't make it all click.
For more on Margaret check out Indie Seen: Margaret the Long Lost Anna Paquin/Matt Damon Movie

Who said "Wild Wild West" didn't deserve any awards? On this Oscar weekend, the overblown, undercooked Will Smith action-comedy got exactly what it deserved: five Razzies.
"Wild Wild West" Yes, the critically unacclaimed summer smash was tops among all, um, winners at the 20th Annual Razzies, "dis-honoring" the worst in film, as they say. The bad-movie-watchin' folks at the Golden Raspberry Foundation unveiled their picks for '99 on Saturday.
They also released their choices for all-time baddies, slamming Sylvester Stallone as the worst actor of the 20th century and Madonna as worst actress for the same 100-year period. Stallone was selected on the strength, or lack thereof, of 17 films, from "Tango &amp; Cash" to any "Rocky" movie after the third installment. Madonna qualified for her work in a half-dozen films, not including this year's "The Next Best Thing."
In the year-end race, "Wild Wild West" was dinged for: worst picture, worst director (Barry Sonnenfeld), worst screenplay, worst song (courtesy of its star) and worst screen couple (Smith and his no-chemistry partner Kevin Kline). But other than that, the Razzies loved it.
You got to hand it to the Golden Raspberry folks: They don't pick on the little guys. Also on their hit list: Adam Sandler (worst actor for his portrayal of "an amazingly idiotic adoptive father" in "Big Daddy") and Denise Richards (named worst supporting actress for her turn as a "tank-topped 'nuclear physicist'" in "The World Is Not Enough").
In the inevitable department, there was the requisite slam at Jar Jar Binks. George Lucas' much-reviled "Phantom Menace" creature was named worst supporting actor.
Here's a complete look at the victims of the 20th Annual Razzies:
Worst Picture: "Wild Wild West" Worst Actor: Adam Sandler, "Big Daddy" Worst Actress: Heather Donahue, "The Blair Witch Project" Worst Screen Couple: Kevin Kline &amp; Will Smith, "Wild Wild West" Worst Supporting Actress: Denise Richards, "The World Is Not Enough" Worst Supporting Actor: Jar Jar Binks, "Star Wars: Episode I -- The Phantom Menace" Worst Director: Barry Sonnenfeld, "Wild Wild West" Worst Screenplay: Jim Thomas &amp; John Thomas, S.S. Wilson &amp; Brent Maddock and Jeffrey Price &amp; Peter S. Seaman, "Wild Wild West" Worst Original Song: "Wild Wild West" from "Wild Wild West," by Stevie Wonder, Kool Mo Dee and Will Smith Worst Actor of the Century: Sylvester Stallone Worst Actress of the Century: Madonna Worst Picture of the Decade: "Showgirls" (1995) Worst New Star of the Decade: Pauly Shore